Minions & Monsters (2026)

After my previous complaints about the walking yellow pills, I never expected to watch any part of the spinoff series. What persuaded me? My nephew and niece invited me. I'll take almost any excuse to spend time with them.

As narrated by a tour guide (Allison Janney), most of the story takes place in early Hollywood. A tribe of Minions (all voiced by director Pierre Coffin) in search of a new bad guy to follow unwittingly crashes a set and wins the hearts of the producers (both Jeff Bridges), who cast them in many movies with the same director (Christoph Waltz). Alas, their inability to stick to English for long makes them flop with the advent of talkies. The most artistically minded Minion, James, decides to make an indie horror. Using a previous boss's magic book, he summons a talking monster (Trey Parker), who brings others on board (Phil LaMarr and Bobby Moynihan). Of course, they didn't show up to be actual actors....

The Sunshine Boys (1975)

Both IMDb and Wikipedia calls this a straight-up comedy. I call it a comedy-drama, because it works better that way. While more plainly joking than The King of Comedy, it feels pretty dour much of the time, as I suspected from the title.

Aged vaudevillian Willy Clark (Walter Matthau) wants to remain in show business despite having become nearly impossible to direct. His nephew, Ben (Richard Benjamin), also serves as his thankless agent. Ben finally gets him a role on a retrospective TV special, but Willy is extremely reluctant to reunite with estranged partner Al Lewis (George Burns) for even one reprisal of their classic "doctor sketch."

Train Dreams (2025)

Had I realized that this was a Netflix movie, I wouldn't have seen it in a theater. But I'm kinda glad I did, partly because I supported my favorite local theater and partly because a large screen and loud speakers enhance the dramatic experience. We don't usually think about that for mere dramas.

Despite copious narration by Will Patton, I had to look up the Denis Johnson novella to tell when the story begins: the 1910s. It ends in 1968, and I'm not sure how many decades in between are represented. In any case, Robert Grainier (Joel Edgerton) works first as a railroad builder, then as a lumberjack, and eventually as a carriage driver, all in rural Idaho. In trying to make ends meet, he doesn't get to spend as much time with wife Gladys (Felicity Jones) and cute young daughter Kate as they'd all like. And he sees far more deaths than he'd like.

Out of Africa (1985)

Of the 92 Academy Best Pictures I've seen, this was the one I remembered least -- mainly just that Meryl Streep's fake accent was so thick the DVD had subtitles on by default. You may take that as a reason not to rewatch it, along with its reputation as perhaps the weakest link in the weakest decade for Best Pictures. (Those who praise '80s cinema usually don't have award-winning dramas in mind.) But I wanted a refresher, especially now that I've visited the same area of Africa myself. This time, I forwent the subtitles, without trouble.

In 1913, Danish future writer Karen Dinesin (Streep) marries Swedish baron Bror Blixen (Klaus Maria Brandauer) for convenience, planning to start a dairy in the Nairobi region of British East Africa. Bror alters the deal to a coffee farm without consulting Karen, unaware of the difficulty of growing coffee at high altitude. This is one of many signs that they will never fully love or trust each other. As Bror is rarely home and Karen finds undeniable signs that he sleeps around, she herself strays to his fellow hunter, Denys Hatton (Robert Redford).

Oppenheimer (2023)

I knew my dad and I would have to see this while it was still in theaters. Not only is it popular, but it loses something on a smaller screen. Not that nuclear explosions, "real" or imagined, make up much of the three hours.

The story covers the life of J. Robert Oppenheimer (Cillian Murphy) from his doctoral student days in 1926 to his receipt of the Enrico Fermi Award in '63. His key work on the Manhattan Project and reactions to its aftermath tend to dominate the focus, but there's more to it than that. He hangs out with communists too much for the comfort of authorities, and two party members, eventual wife Kitty Puening (Emily Blunt) and codependent Jean Tatlock (Florence Pugh), become his love interests.

Battling Butler (1926)

I hadn't seen Buster Keaton in more than five years. BB was actually his personal favorite and his second biggest box office hit, greatly eclipsing the same year's The General when they were new. (Perhaps people weren't ready for a Civil War comedy.) So why had I learned next to nothing about BB before?

The protagonist is not a butler, but he may well have one: Alfred Butler is a spoiled aristocrat, albeit sometimes ordered around by his father, who sends him to the wilderness to man up. There he meets someone identified only as "the mountain girl," who finds him annoying at first, but they quickly fall for each other. Alas, her father and brother won't approve a marriage to an apparent wimp, so Alfred's valet (yes, there with him) claims that Alfred is lightweight champion "Battling Butler," who happens to look similar in addition to having the same first and last names. The ruse works, but Alfred must actually travel to the training camp and then the arena, all the while trying to persuade his bride not to watch because she wouldn't like that side of him. To make matters worse, the real Battling Butler is none too fond of this imposter, especially after a mix-up of their similar-looking ladies....

Christ in Concrete/Give Us This Day/Salt to the Devil (1949)

Yes, it's all one picture. The first title, used by Netflix, is from the adapted novel, but that wasn't allowed in UK theaters. The second appears on screen in the edition I watched, but with the blacklisting of director Edward Dmytryk, it was interpreted as anti-Christian, hence the third stab, which didn't really help. Perhaps it's just as well not to use the original title, because from what I read, the film ends about where the book begins.

In the 1920s, Geremio (Sam Wanamaker) lies about owning a home in order to persuade Annunziata (Lea Padovani) to move from Italy to Brooklyn and marry him. They still hope to scrimp and save for one, thanks to a generous realtor (Karel Stepanek), even as their apartment-dwelling family gets bigger. They almost make it before Black Friday. After that, Geremio and his buddies in the bricklaying business get desperate enough to take on a low-safety demolition project....

Little Lord Fauntleroy (1921)

Since Netflix announced that DVD service will discontinue in September, I've decided to prioritize what's unlikely to stream. In this case, it also turned out to remind me what I won't miss about DVDs: Sometimes they freeze and skip. Thankfully, I didn't miss anything important.

In 1880s New York City, preadolescent Cedric (Mary Pickford!) has no idea who his dead father was until he becomes next in line for an earldom. He's not happy to have to leave his friends or his dream of becoming president, and he's been led to believe that British nobles are rotten. His grandfather (Claude Gillingwater) isn't happy either, because he hates Americans too much to greet Cedric's mother (also Mary Pickford!), who must live in a separate building he owns. Nevertheless, Cedric charms the old curmudgeon and his servants, enabling much-needed generosity to the poor in his domain. But there arises a question of whether someone else actually ranks ahead of Cedric and, if so, where he should live....

The Tin Drum (1979)

I picked a war flick for Veterans Day, but it wasn't the best choice. The protagonist isn't a soldier, and the soldiers we see don't exactly look good to us. You'll understand why in a moment.

On his third birthday, Oskar (David Bennent, actual age 11 at the time) deliberately injures himself in a way that prevents him from growing physically anymore, which ensures that people never treat him as fully adult. That premise alone can be pretty disturbing, but it's also set in Nazi-occupied Poland. His own family sometimes supports the invaders, tho they learn better eventually.

Old Acquaintance (1943)

Had I realized that the title evoked "Auld Lang Syne," I would have saved this viewing for New Year's. But while the song is played at the beginning and ending, no part of the film takes place at that time of year. We are to think of its actual meaning, not its holiday association.

The story begins in 1924 small-town America, when Kit (Bette Davis) has become a celebrity for her first published novel. Her long-time friend Millie (Miriam Hopkins, not dissuaded by previous experience with Davis) takes inspiration and becomes a novelist in her own right, far less favored by critics but far more prolific and financially successful. Alas, by 1932, Millie's husband Preston (John Loder) feels neglected enough to leave her and daughter Deirdre (Francine Rufo, later Dolores Moran). He courts Kit, but she declines for the sake of Millie's friendship. Most of the rest happens in 1942, when Kit and Preston meet again through the war effort, by which time Kit is finally if tentatively dating someone, the younger Rudd (Gig Young).

Imitation of Life (1934)

This is a bit lesser-known than its 1959 remake but almost as popular. At one time, it was widely preferred. I figured I ought to see both someday and might as well start with the first.

Delilah (Louise Beavers) goes to a wrong address to apply for a housekeeping job but persuades Bea (Claudette Colbert), broke widowed mother to toddler Jessie (Juanita Quigley, later Marilyn Knowlden and Rochelle Hudson), to let her work for room and board for herself and daughter Peola (Dorothy Black, later Fredi Washington). When Bea learns what uniquely excellent pancakes Delilah makes, she shows her own persuasiveness and opens a pancake restaurant, "Aunt Delilah's." After five years, fan Elmer (Ned Sparks) recommends selling the pancake mix; Bea hires him as an exec, and the brand takes off. She and Delilah have never been richer, yet money won't take care of their social difficulties.

RRR (2022)

This is the first Indian movie I've seen at my mom's suggestion; she'd read good things about it. Perhaps the strangest thing about it is the title. In the opening sequence, the letters expand to "Rise Roar Revolt," but it started as a working title based on initials of the director (S.S. Rajamouli) and leads (N.T. Rama Rao Jr. and Ram Charan). I went in knowing little more than its 185-minute runtime, as Netflix doesn't describe the plot. Nor does it offer audio in the original Telugu for some reason; I settled for Hindi.

In 1920, owing to a language barrier, the Hindu Gond tribe unwittingly sells preteen Malli (Twinkle Sharma) into slavery as a henna artist in the Delhi mansion of Governor Scott Buxton (Ray Stevenson), who won't sell her back. Malli's adult brother figure, Komaram Bheem (Rao), assumes the alias of Muslim "Akhtar" and plots to bust her out. He befriends Rama Raju (Charan), an undercover cop assigned to arrest the mystery man alleged to be plotting against Buxton. Neither friend has the slightest suspicion at first....

Shaolin (2011)

This must be the first movie I've seen because it was excerpted in a video where an expert rates on-screen kung fu veracity. I decided it had been long enough since my last martial art viewing.

In the 1920s, Hou Jie (Andy Lau) is a warlord as brutal and treacherous as the next -- until his daughter (Shimada Runa) gets killed, his wife (Fan Bingbing) walks out on him, and he becomes a powerless fugitive with a bounty on his head. Not knowing what else to do with his life, he joins Shaolin Monastery, which he had recently desecrated, the abbot (Yu Hai) being more forgiving than most of the monks. He finds a new level of emotional peace, but his fighting days aren't over: His former deputy and "sworn brother," Cao Man (Nicholas Tse), is perhaps even worse than Hou used to be, at least with regard to refugees. And these monks are not the hands-off, super-pacifistic kind of Buddhists.

Spies (1928)

This was it: the last 1920s movie on my Netflix queue or list and thus probably the last silent. If it would become my last silent viewing ever, I was wise to choose one from a proven director, Fritz Lang.

Bank director Haghi (Rudolf Klein-Rogge) also leads a vast spy ring that meddles in international government affairs, seemingly just for the sake of wielding power. Knowing that one Agent 326 (Willy Fritsch, whose character name is never revealed) seeks to bring him down, he sends an agent of his own, Sonja (Gerda Maurus), to seduce and betray 326. The plan backfires when she falls for him for real. Of course, catching a mastermind still isn't easy....

Ma Rainey's Black Bottom (2020)

You may think I prioritized this new Netflix release because it's popular right now and/or because it has the final role of the late Chadwick Boseman. In truth, I hadn't known about the casting. No, the main reason is that I was familiar with the title among plays and have been rather missing live theater this year. It hardly matters that I saw another August Wilson adaptation produced by Denzel Washington half a year ago.

In summer 1927, real-life singer Gertrude "Ma" Rainey (Viola Davis) and four instrumentalists gradually assemble at a Chicago recording studio to make a blues album. This is not as uneventful as it sounds. Ma is in full diva mode, upstart trumpeter Levee (Boseman) is possibly even more annoying in his cockiness, the ceiling fan doesn't work, and they are all keenly aware that social conditions aren't great for Black people even up north. Studio owner Mel (Jonny Coyne) and manager Irvin (Jeremy Shamos) show no overt racism or rudeness, unlike the glaring bystanders outside, but you can bet they'd pay White performers better and put them in a more comfortable room.

Shadow of the Vampire (2000)

A horror movie about making a horror movie? When I first heard about this, it sounded halfway comical, yet it clearly wasn't played for laughs. When I learned the focus more precisely much later, I became mildly intrigued.

In an assuredly alternate 1921, F.W. Murnau (John Malkovich again) is beginning to direct the classic Dracula knockoff Nosferatu: A Symphony of Horror. Many of the people involved had expected him to be highly controlling but are perplexed by his secrecy, followed by his unusual process for dealing with the vampire's actor, Max Schreck (Willem Dafoe, in the role that got him into Spider-Man), whom they never heard of before. Schreck is creepily eccentric, but that just means he's an ahead-of-his-time method actor, right? ...Right?

Legends of the Fall (1994)

No, it has nothing to do with The Fall. Reportedly, the title refers to the biblical Fall, but I'd hardly know from the movie itself: The characters aren't particularly religious and never say anything about the events of Genesis. Maybe the relevance is clearer in the Jim Harrison novella from which this is adapted.

The Netflix description makes it sound primarily like a war movie, but that's only for the first act. In 1914, Montana rancher William Ludlow (Anthony Hopkins), despite having served as a colonel, is disillusioned with the government and doesn't want his three sons to fight in World War I, but Samuel (Henry Thomas) and Alfred (Aidan Quinn) insist. Tristan (Brad Pitt) feels obliged to come along to protect Samuel, not least for the sake of Samuel's intended, Susannah (Julia Ormond). Since Netflix hinted as much, I might as well tell you he fails. The rest of the story is shaped by this failure.

Chitty Chitty Bang Bang (1968)

I realize this is neither modern nor widely regarded as a classic, but I've encountered just enough references to it that I thought to educate myself. Besides, after some of the rather ugly films I'd seen recently, a G movie seemed up my alley.

In 1920s England, eccentric inventor Caractacus Potts (Dick Van Dyke, no longer even attempting a British accent) has trouble looking after his eight-year-old twins, Jeremy (Adrian Hall) and Jemima (Heather Ripley), as candy magnate heiress Truly Scrumptious (Sally Ann Howes) discovers upon almost running them over. Despite her and the Pottses getting off on the wrong foot, Truly soon finds the kids endearing and encourages Caractacus to pursue his more promising ideas. Once he gets enough money, he buys the kids' beloved scrapyard car, which had won races in the aughts, and refurbishes it into a surprisingly nifty vehicle, named for its distinctive sound. As he gives the kids and Truly a ride, Truly feels more like a member of the family....

Underworld (1927)

Since my last silent viewing was a year and a half ago, I decided to give this priority. It would also help me get a better sense of director Josef von Sternberg, having seen four of his movies before. This was the surprise hit that formed his comeback and advanced a bunch of other careers, and Luis Buñuel named it his favorite flick overall.

An erudite yet drunken ex-lawyer (Clive Brook) expresses recognition of "Bull" Weed (George Bancroft) as the latter leaves a nighttime bank robbery. Bull threatens him, but the drunk declares himself "a Rolls Royce of silence," thereafter going by "Rolls Royce." Intrigued, Bull gives him a custodial job at a seedy bar and becomes fonder of him when he stands up to bully and Bull rival "Buck" Mulligan (Fred Kohler). After that, Rolls becomes an urbane butler of sorts for Bull, keeping his own hands clean while helping with the criminal ideas, at least when it stands to spell bad news for Buck. But Bull comes to realize that he shouldn't leave his moll "Feathers" (Evelyn Brent) alone with Rolls for long. And he's not at all sure that Feathers or Rolls will be there for him if he gets caught....

The Great Gatsby (2013)

Well, how do you like that: I said before, "I doubt I'll take a chance on Australia or The Great Gatsby." What changed my mind? My dad's invitation to watch the DVD with him. By this time, I had forgotten Baz Luhrmann's involvement and started wondering whether I would find the story more engaging than I had in the F. Scott Fitzgerald book.

Nick Carraway (Tobey Maguire) narrates from a mental hospital how he knew his most captivating New York State neighbor, Jay Gatsby (Leonardo DiCaprio, perhaps practicing for the same year's The Wolf of Wall Street). Gatsby is an obscenely rich man of mystery, throwing lavish parties attended by just about everybody for miles around. But he confides in Nick that it's all an effort to draw the attention of the woman he loves, who happens to be Nick's cousin, Daisy (Carey Mulligan). She married man's man Tom Buchanan (Joel Edgerton) back when Gatsby felt too poor to marry. With Nick's help, Daisy does come back into Gatsby's life, but of course this means inviting trouble....